Author: FairyPoweredProductions

Yet Another Carnival and Hope Mill Theatre present

VINCENT RIVER

Philip Ridley’s heartbreaking modern classic – relocated to Manchester – has regional premiere at the award-winning Hope Mill Theatre

 

Tuesday 27 February – Saturday 24 March

The thrilling and heartbreaking play Vincent River, by award-winning playwright and author Philip Ridley, has been relocated to Manchester – the city where it is to receive its regional premiere next month.

Yet Another Carnival and Hope Mill Theatre present Vincent River by Philip Ridley and directed by John Young from Tuesday 27 February to Saturday 24 March 2018 at Hope Mill Theatre.

This searing modern classic, which premiered in London at the Hampstead Theatre in 2000, takes aim at homophobia and hate crime with breathtaking honesty.

 

Author Philip Ridley said: “I’m so thrilled and excited that Vincent River is being brought to life, and relocated to Manchester, for its regional premiere at Hope Mill Theatre. It’s the perfect home for the play.”

Vincent River slides under the surface of fear, hatred and love. Davey has seen something he canʼt forget. Anita has been forced to flee her home. These two have never met. Tonight their paths cross with devastating consequences.

Vincent River is directed by John Young and stars Joyce Branagh and Dominic Holmes.

 

John Young, co-founder and co-artistic director of Yet Another Carnival, trained on the National Theatre Directors Course and is a former Resident Assistant Director at The Finborough Theatre, prior to this he was on the Emerging Trainee Director Scheme at Theatr Clwyd. Direction includes: To Dream Again (Polka Theatre and Theatr Clwyd), Scattered (Theatr Clwyd, West Yorkshire Playhouse and Good Chance Theatre), We Know Where You Live (Finborough Theatre), The Watchers (Southwark Playhouse), What the Walls Saw, The Thing Is and The Joy Show  (Grosvenor Park Open Air Theatre Young Company) and Soft Beats the Heart (Theatre503). Assistant Director credits include: The Beggars Opera and A Midsummer Night’s Dream (Storyhouse), Aladdin and Skyhawk the Musical (Theatr Clwyd), Chicken Dust and Our American Cousin (Finborough Theatre). 

 

Joyce Branagh recently won Best Fringe Performance at the 2017 Manchester Theatre Awards for Boomtown Gals. Other theatre credits as a performer include Pet Defenders (Latitude Festival), A Different Time (JB Shorts/Real Life Theatre), The Last Battle (They Eat Culture), The Eystery of Mabel Drinkwater (Oldham Library Theatre), Safe in Our Hands (JB Shorts/Realife Theatre), Colder Than Here (HOME Manchester), Macbeth (GB Theatre Co), The Wittol’s Wife (Hebden Bridge Little Theatre), The Deep Blue Seat (Hebden Bridge Little Theatre), Two (Todmorden Hippodrome), Can’t Smile Without You (Organised Chaos) and Peggy the Spaceman (Manchester Comedy Store). Television appearances include Porridge, Hollyoaks, Emmerdale and The Bill. Joyce is also a successful theatre director in her own right.

Dominic Holmes graduated from the Guildford School of Acting in 2015. His theatre credits include Noise (Birmingham Old Rep) Henry IV (Waterloo east) The Final Frontier (Theatre503) Macbeth (Out of Joint) and The teenagers (Hightide) Television credits include Jinx (CBBC) Coronation Street (ITV) and Heartbeat (ITV)Dominic has recently completed filming in one of the lead roles as Malcolm in feature film Cannibals and Carpet Fitters due for release in early 2018.

This production is supported by the Arts Council, Superbia and The Philip Carne Trust.

 

For more information or to book tickets, visit www.yetanothercarnival.co.uk/ or www.hopemilltheatre.co.uk.

Website:             https://www.yetanothercarnival.co.uk/

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RAMBERT DANCE COMPANY RETURN TO NEWCASTLE WITH A DARK FAVOURITE

 

One of the world’s oldest and most-renowned dance companies Rambert are returning to Newcastle with a trio of Latin-American inspired works including the famously haunting Ghost Dances.  Immerse yourself at the Theatre Royal next week 6 – 8 February.

 

Heart-breaking and compelling Ghost Dances is among the most celebrated contemporary dance pieces of its generation. Back on tour for the first time in 14 years, the work takes a series of everyday moments in the lives of ordinary people, and tragically interrupts each one with a visit from the death-mask ‘ghost dancers’.  Symbolising lives ‘snuffed out’ by Pinochet’s regime in during the 1980s it is set to Latin American folk music and makes reference to the Day of the Dead.

 

Ghost Dances is created by one of Britain’s leading choreographers Christopher Bruce, the last major choreographer to have been nurtured by original company founder Marie Rambert. Bruce is a former dancer and Artistic Director of Rambert, whose acclaimed work for the company, includes Cruel Garden (1977), Swansong (1987) and Rooster (1991). He has also created works for major companies around the world including English National Ballet, Houston Ballet, Nederlands Dans Theater and The Royal Ballet.

 

A new work, Symbiosis is a high-velocity abstract dance work full of energy and power showing off the Rambert dancers’ skills. Created by Andonis Foniadakis, resident choreographer at Greek National Opera Ballet, it is set to a specially-commissioned score by Ilan Eshkeri, a British composer known for his film scores and collaborations with visual artists, fashion brands, and rock and pop stars.

The third piece in the dynamic triple bill is Goat – an uplifting dance-theatre piece from award-winning choreographer and performer Ben Duke. Darkly funny and deeply moving, Goat dissects the pleasure and pain of performing. The work is inspired by the music and spirit of Nina Simone, with a selection of her best loved songs performed live on stage by jazz singer Emma Smith.

 

Rambert has some of the finest dancers in the world, who are renowned for leaving audiences spellbound by their power, energy and grace.  They are always accompanied by music played live by the Company’s own orchestra.  Rambert’s combination of world-class dancers, inventive choreography and a live orchestra make for an exhilarating theatrical experience.

Rambert dancer and Tynesider Adam Park said: ‘It’s always a pleasure being able to perform back at home! And it’s wonderful having so many family and friends in the audience. I can remember very vividly the excitement I felt when I went to watch Rambert as a young dancer. Hopefully we’ll be able to do that again this time around, with what I know is a fantastic triple bill”

 

Rambert is at Newcastle Theatre Royal from Tues 6 until Thu 8 Feb 2018, playing evenings at 7.30pm, matinee on Thu 2pm. Tickets from £12.  Tickets can be purchased from the Theatre Royal Box Office on 08448 11 21 21 (Calls cost 7ppm plus your phone company’s access charge) or book online at www.theatreroyal.co.uk

Park Theatre – until 17 February.  Reviewed by Claire Roderick

4****

Jennifer Maisel’s There or Here takes the idea of US outsourcing to India to the extreme with this story about a US couple outsourcing their pregnancy.

This bittersweet comedy follows Robyn (Lucy Fenton) and Ajay (Chris Nayak) as they travel to an Indian clinic to meet their surrogate. Robyn had her eggs frozen when she discovered she had cancer. The idea of an Indian surrogate appeals to the couple as a chance for Ajay to reconnect with the country of his birth, which his parents left for a new life in the US. In the first act, the plot jumps around in time between the actual visit to India, the weeks leading up to it, and Robyn’s time in hospital, as Robyn’s mother, Ellen (Ursula Mohan) struggles to understand her daughter’s decision to risk her life for a child that she may never see. The couple’s doubts and worries are never voiced to each other, instead they ambush faceless voices on the end of the phone. Robyn opening up to a technical support worker, and Ajay to a novice on a phonesex line (both played by Rakhee Thakrar, whose frantic shuffling through a folder full of prompts for the sexworker is comedy gold).

The awkwardness and growing distance between the couple as they both try to keep their plans on track is written beautifully, with the initially annoying pair gradually revealing their fears and feelings. There is great comedy in their different ways of coping, interspersed with heart-breaking moments of misunderstanding and retreat. Whenever things get too heavy, however, the action transfers to Elle and her budding romance with toy boy Raj (Manish Gandhi). Her silent messaging is simply wonderful, transforming this mature woman into a giggling teenager.

When the couple finally meet Neera, their surrogate (Thakrar again) and her husband Rajit (Gandhi), the discomfort is palpable, but doesn’t prepare you for the dramatic twists in the second act. In lesser hands this could have been ridiculously corny, but the writing and strong cast ensure that the audience never loses sympathy for the characters and their plight.

Vik Sivalingam directs with great skill, moving the action along at pace and making the most of the intertwined plots with characters on the phone on different continents suddenly making eye contact at pivotal moments to wonderful effect.

A clever, taut and emotional play that will make you laugh and cry in equal measure, There or Here is a rare treat.

Hoxton Hall – until 10 February.  Reviewed by Claire Roderick

4****

This music hall musical about Victorian female gangs is a rip-roaring riot from start to finish. Inspired by the real 40 Elephants gang in Southwark, Oranges and Elephants launches Female Parts, the all-female theatre season at Hoxton Hall.

If you’re expecting a hard-hitting feminist show tackling misogyny and homophobia, then you’ll be left wanting. But if you’re looking for a fun and entertaining night out, then this show won’t disappoint.

Hoxton Hall is the perfect setting for the show, with Susannah van den Berg’s exuberant and wildly talented Chair and Jo Collins as Doreen tinkling the ivories narrating and commenting on the action with stylish glee. Framed as a music hall performance, the characters are all broadly drawn, and the plot feels as if the scripts of Romeo and Juliet, Peaky Blinders, Widows, Bad Girls and Tipping the Velvet were shredded and spliced together randomly. But, as terrible as that sounds, Lil Warren has managed to create something fantastic here. Jo Collins’ music, riffing on Celtic folk, music hall favourites and modern musical theatre standards, fits seamlessly in with the action, emphasising the atmosphere of a Good Old Days/BBC costume drama hybrid that ends with a feelgood singalong.

The turf war over Piccadilly Circus pickpocketing between the Oranges and Elephants is raging as seemingly innocent Mary arrives in London. After having her belongings stolen by the Elephants, Mary is taken by the Oranges and becomes their leader Flo’s plaything. As revenge for the wounding of one of her girls, the leader of the Elephants tasks Nellie to bring Mary to her to scar in retaliation. But Mary and Nellie fall in love and plan to leave the gangs to follow their dreams of music hall stardom. And that really sets the cat among the pigeons.

The South London Elephants have strong Irish roots, and are led fearlessly by Annie, teaching the girls the family code that binds them together. The East London Oranges are led by the brutal Flo, who rules her gang with violence and threats, meaning that their bonds are not as strong. As the story unfolds it becomes clear which set of values is really the most pitiless and terrifying. Lil Warren’s book and lyrics don’t strive for biting realism, rather fast paced storytelling filled with some frankly baffling sayings, which spill from these larger than life characters’ lips without feeling forced.

The Oranges, dressed in men’s clothes and openly predatory, are played with swaggering style, with Rebecca Bainbridge outstanding as the seemingly psychopathic Ada. Her number about cutting up girls and taking their last is dark and disturbing, and the immediate comic relief from van den Berg is very welcome.

Christine Tedders gives a passionate yet world weary performance as Nellie, with her haunting renditions of Celtic airs being the most memorable moments of the show, while Kate Marlais belts out her numbers as Maggie, nearly bringing the house down. Mary begins as an insipid little country mouse – yes, there are lots of jokes about loving the country – and the character’s evolution throughout the show is handled beautifully by Sinead Long. The entire cast are actor/musicians, dashing around the hall to accompany musical numbers, flirt with the audience, or heckle the performers onstage. A fantastic ensemble cast that appear to be having a blast.

Oranges and Elephants is a wonderfully staged and highly entertaining show – the perfect piece of filthy fun for a cold winter’s night.

VAULTS FESTIVAL 2018 – until 28 January 2018.  Reviewed by Jessica Brady

4****

“This is a story about a girl. And a boy. Some of it’s true. And some of it isn’t. And I’m not going to tell you which.” Worklight Theatre presents ‘Monster’ at Vaults festival this year, a clever and insightful one man show written and performed by Joe Sellman-Leava

The show tackles several themes and raises some important questions, what makes a man a monster? Are people born to be monsters? Is it a choice to be good or is it instinctively within us? These questions are investigated with a personal account of Joe’s past whilst researching for a role for a show in which Shakespeare’s approach to violent men and in particular the relationships built with women in many of his works. This is also in correlation with Joe’s new relationship with his girlfriend and the conversations that lead to sparks flying but not in the way you would expect.

The pressure that most one man shows are faced with is engaging an audience in the story that’s trying to be told and Sellman- Leava is expertly directed to do so by Yaz Al-Shaater. He works the entire stage with minimal props and costume leaving the majority of the work down to Joe and his impressive use of impersonations and incredibly skilled multi role switching. Quite simply, Joe’s talent and passion shines through this piece and his script is brutally honest, real and gritty regardless of the moments that are truth or fiction.

The issues involved in the piece are topical of the moment in the light of recent scandals that are in the tabloids but the conclusions made from it are very touching and will strike a chord with anyone who goes to see it. Catch it 7.15pm at the Vaults and keep an eye out for more from this exciting company and in particular Joe Sellman-Leava!

 

The Lyceum Theatre, Sheffield –  until 27th January 2018.  Reviewed by Sophie Dodworth

4****

Upon entering the auditorium at the Lyceum, you are greeted with the most intricate detail on the stage. The set is a wonderful masterpiece of eye catching, functional electronics and mechanisms; set in Georges’ family home, you are immediately invited in by this comprehensive scene. The audience is a real blend of ages but almost everyone dons a wide grin throughout the entire performance thanks to this magical tale.

The story follows George and his parents after Georges’ wicked, leopard-print wearing, scooter driving grandmother comes to visit. George soon tires of her demanding and obnoxious ways and decides to make a special ‘medicine’ out of all the household goods that he can find. When Georges’ grandmother drinks the medicine that George has prepared, she grows as tall as the house and bursts through the roof. Georges’ father sees a real opportunity here, as he is a farmer and thinks that if they could only replicate the ‘marvellous medicine’ they could earn millions; however, George can’t remember the ingredients. The final attempt at making the medicine reverses the effects of the initial potion and Grandma ends up disappearing altogether!

Preston Nyman plays excitable George perfectly, bringing his character right off the page of the book, to the stage; which can’t be an easy feat when you’re an adult playing an eight year old boy! Chandni Mistry plays the giant chicken that also gets blown up with the medicine; this is a truly comical part, creating many ripples of laughter throughout the audience, as she clucks her way around the stage, even laying an egg! The real star of the show though should take an extra bow at the end and that is Lisa Howard playing Georges’ Grandma. Lisa Howard convinces the audience that Georges’ Grandma is a super evil bully and the pantomime style boos from the audience confirm this.

Highlights of the show are George daydreaming of his Grandma being nice and how life would be and the making of the potion, including the audience trying to assist George in remembering what he added the first time round. This was a confirmation of how the memory fades over the years!

The finale features the song ‘Don’t Try This at Home’, just in case any of the younger audience decide to get home and try their hand at making their own medicines!

Credit really needs to go to director Julia Thomas for keeping the set alive throughout with that many different moving parts of set and props that it is almost a show in itself. There are a few snippets of musical numbers during the show which are let down a little by the sound, actually losing some of the vocal at times, in turn losing track of the scene.

This stage adaptation of Roald Dahls famous 1981 novel by Curve and Rose Theatre Kingston, is almost a page to stage version but with a modern feel assisted by some current political references and a spot of ‘dabbing’. Superb for adults and children, full of the devilishness of Dahl, really capturing the magic that he wrote. Highly recommended and will leave you feeling uplifted and marvellous. You really won’t want it to end!

Hope Mill Theatre, Manchester – until 10th February.  Reviewed by Marcus Richardson

4.5****

Toy Boy Diaries is a new musical following the life of a mature woman who has a taste for younger men. This wacky plot has sensual musical numbers and even more sexual dancing. One word to describe this play is original, I’ve never seen anything like this before.

The cast of 5 made up of three handsome young men who play multiple characters to whom the character Lily (Johanne Murdock) has multiple encounters both awkward and sexual. Lily’s best friend Penny (Nicola Blackman) is just as wacky and wild as the plot giving a light-hearted comic relief and innocence to the raunchy play. The Toy Boys, Matt Beveridge, Sharif Afifi and Alistair Higgins, took on many character each with difference personality’s and ages. When they were not characters they were the Toy Boys with white t-shirts and black jeans, they helped fuel Lily’s imagination to her desires and fantasies. Murdock who played Lily, gave the character a lot of depth and passion, she was both funny to watch on stage and was complex enough to like the character instead of being a stereotype.

The set and costume made for quick scene changes that didn’t interrupt the play and when costume changes happened a fair few of them happened on stage, the actors certainly weren’t shy about being in their underwear. The musical, had a good array of songs, most of which made me laugh, especially the song naughty boy in which Lily is trying out S&M for the first time. The whole play was a hilarious comedy and it’s uniqueness play a huge part in this. Throughout the show you will be wondering what on earth you are watching.

I found the show to be very engaging with its humour, as I hardly see it in other shows. I absolutely loved the first act as it was a roller coaster of sex heartbreak and more sex, the second act seemed to be the same but with different songs. The play is at Hope Mill Theatre in Manchester until the 10th of February, so if you’re in the area I would recommend this show and I advise you not to bring your mother as your face would be red through the whole show

Grand Opera House York – until Saturday 27th January 2018. Reviewed by Michelle Richardson

4****

This is the extraordinary tale of an ordinary girl from Liverpool, plain Priscilla White, who went on to become one of Britain’s best-loved entertainers, Cilla Black. Most of us knew her either from her music or from tv, most notably Blind Date and Surprise Surprise. The musical follows Cilla’s rise to stardom from typist to star, focusing on her personal life and the two men, Bobby Willis and Brian Epstein, who were fundamental to her success. We are treated to various hits from the 60’s, not just from Cilla but from the Beatles, the Mamas and Papas and Gerry and the Pacemakers.

We see how she grew up in Liverpool, frequenting the Cavern Club, listening to the Big Three before being asked to sing with them. We see her friendship with the Beatles and Lennon’s nickname of Cyril for her, before being introduced to their manager Brian Epstein, and like the saying goes, the rest is history.

Kara Lily Hayworth was selected for the role of the legendary Cilla, beating thousands of actresses to land the iconic part, and I can certainly understand why, she delivered a show-stopping performance that at times sent quivers down my spine, her singing was that powerful. Carl Au also delivers a great performance as Cilla’s husband Bobby, completely and blindly devoted to her, sacrificing his own chances. Au is quite mesmerizing on stage, I found it quite hard to take my eyes off him and he does a wonderful job in both his acting and singing, which unfortunately is underutilised, rightly so this is about Cilla not Bobby and we are all rooting for Bobby from the get go.

Andrew Lancel gives a knockout performance as Epstein, capturing his, at times, tormented emotions, as well as portraying him as a true gentleman. This is highlighted when Lennon, played superbly by Michael Hawkins, sings You’ve Got To Hide Your Love Away, dedicated to Epstein because of his sexuality and his penchant for “nasty boys” (who like to rob and beat him up). In the second half Lancel’s rendition of the song is heart wrenching. The story ends with Epstein’s death and the start of Cilla’s long television career.

The staging and costumes perfectly encapsulate the era. The whole cast looked like they were having a good time, and they delivered a great show with great chemistry. The music was superb, I especially loved the Beatles music, but I am a bit biased there, I used to listen to all my mum’s old Beatles records when I was a teenager, and you cannot beat their music even to this day. The real highlight of the show for me though was Hayworth’s rendition of Anyone Who Had a Heart.

It was fantastic to see such a packed theatre with everyone enjoying themselves. A great light-hearted musical to blow those January blues away.

A Brand New Adaptation of
THE JUNGLE BOOK

Comes to Richmond Theatre 7 Feb – 10 Feb

Children’s Touring Partnership and Royal & Derngate, Northampton bring a new adaptation of Rudyard Kipling’s family classic, The Jungle Book to Richmond Theatre Wed 7 Feb – Sat 10 Feb to delight schools and family audiences alike!

The award-winning creative team bringing Kipling’s timeless story to the stage includes playwright Jessica Swale whose previous acclaimed play Nell Gwynn won the Olivier Award for Best New Comedy in 2016, director Max Webster who directed Dr Seuss’ The Lorax at the Old Vic, which was nominated for Best Entertainment and Family Show at the 2016 Olivier Awards, and internationally renowned songwriter and jazz legend, Joe Stilgoe. 

Originally written in 1894, Kipling’s beloved tale will be reimagined with a brand new score and script brought to life by actor-musicians, exploring the universal themes of family, belonging and identity. The Jungle Book tells the tale of Mowgli the man cub who battles for survival in this heart-warming coming-of-age story about a boy raised by wolves in the jungle. With the help of his animal friends, including Bagheera the panther, Balloo the bear and Kaa the python, Mowgli outwits the cruel and powerful tiger, Shere Khan, and learns the law of the jungle.

Completing the creative team is set and costume designer Peter McKintosh, musical supervision and orchestration from Paul Herbert, choreography by Lizzi Gee, lighting design by Charles Balfour, puppetry design and direction by Nick Barnes, fight direction by Kate Waters and sound design by Matt McKenzie. The cast includes Rachel Dawson as ‘Kaa Grey’, Lloyd Gorman as ‘Shere Khan’, TJ Holmes as ‘Hiran’, Avita Jay as ‘Raksha’, Keziah Joseph as ‘Mowgli’, Dyfrig Morris as ‘Balloo’, Deborah Oyelade as ‘Bagheera’ and Tripti Tripuraneni as ‘Akala’. They are joined by Ruri James and Chipo Kureya in the ensemble.

Children’s Touring Partnership is led by Fiery Angel and Chichester Festival Theatre. Previous productions include the award winning West End and UK tour production of Goodnight Mister Tom and most recently the UK touring production of Michael Morpurgo’s Running Wild.

*Suitable for ages 6+

The Jungle Book
Wed 7  – Sat 10 Feb at Richmond Theatre
Tickets: from £16.90* (includes booking fee)|Schools and Groups discounted rates available!

 

Richmond Box Office: 0844 871 7651* Website: atgtickets.com/Richmond*
*Fees apply.  Calls cost up to 7p per minute plus your phone company’s access charge.